Philip Glass’ Etudes for piano are, for the most part, studies in rhythm and textural layering, yet it would be a mistake to assume that they all sound the same. True, many of them begin with some ostinato pattern over which Glass adds a catchy harmonic sequence or bit of melody, but their range is, within the idiom, strikingly wide. Composed as two sets of 10 etudes each, only No. 7 in the first set turns maddeningly repetitious in classic minimalist fashion.
Indeed, the etudes of the second set (Nos. 11-20) offer the soloist numerous expressive opportunities, all of which soloist Maki Namekawa clearly relishes. Consider the dark opening of No. 14, the almost Chopinesque bravura of No.15, or the nostalgically lyrical No. 20. These are lovely pieces, and it’s no wonder that they are rapidly becoming popular with young pianists, particularly those who specialize in contemporary music and need good, crowd-pleasing repertoire.
Published on Glass’ own label, Orange Mountain Music, we can presume that these performances carry the composer’s imprimatur, as well they should. Namekawa gives the music the precision it demands with a tone that never turns hard or brittle. Her energy is unflagging, her virtuosity always placed in the service of the music, and the sonics are excellent. A very enjoyable release then, for pianophiles, minimalists, and even normal people.
